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NOTE SHAPES
Name
Note
Rest
Maxima
Long
Breve
Semibreve
Minim
Semiminim
Fusa
Semifusa
I or S
CBC
CAC
C@C
C?C
C>C
C=C
<< or ;; or
< or ;
<<< or ;;;
LIGATURES
1. Basic ligatures with no stems
a. Two-note ligatures:
b. Ligatures of more than two notes:
recta descending
Beginning and ending notes follow the
rules for two-note ligatures
obliqua
Every note in the middle is a Breve (F)
recta ascending
Example:
2. Stems and other effects
a. At the beginning of a ligature:
b. At the middle or end of a ligature, a stem is
always downward, and turns the note to the left
An upward stem to the left always makes
into a Long (E)
the first two notes Semibreves (G)
Examples:
Examples:
A downward stem to the left makes the
first note a Breve (F)
c. Any stretched notehead is a Maxima (D)
Example:
Example:
STANDARD MENSURATIONS AND PROPORTIONS
1. Mensuration
2 and & are the signs of perfect and imperfect tempus: i.e., whether a Breve (F) contains 3 or
2 Semibreves (G) by default
Presence or absence of a dot () in the center of the tempus sign indicates major or minor
prolation: i.e., whether a Semibreve (G) contains 3 or 2 Minims (H) by default
& (imperfect tempus, minor prolation):
F = GG = HHHH
*(imperfect tempus, major prolation):
F = GG = HHHHHH
2 (perfect tempus, minor prolation):
F = GGG = HHHHHH
4 (perfect tempus, major prolation):
F = GGG = HHHHHHHHH
Major modus refers to the number of Longs (E) in a Maxima (D) (perfect is 3, imperfect is 2)
Minor modus refers to the number of Breves (F) in a Long (E) (perfect is 3, imperfect is 2)
Modus is detected most easily by observing how many Long rests are in a Maxima rest, and
how many Breve rests are in a Long rest:
Imperfect major modus,
Imperfect minor modus
Imperfect major modus,
Perfect minor modus
Perfect major modus,
Imperfect minor modus
<<
;;
<<<
Perfect major modus,
Perfect minor modus
;;;
2. Other signs and proportions
Modus cum tempore signs use the circle to show minor modus and a numeral to show
tempus:
&2 = Imperfect minor modus, Imperfect tempus &3 = Imperfect minor modus, Perfect tempus
22 = Perfect minor modus, Imperfect tempus
23 = Perfect minor modus, Perfect tempus
Under these mensurations, the tempo is quicker and the beat is on the Breve
A numeral or pair of numerals changes the speed of a part proportionally; e.g., 3 2 changes
the speed so that 3 notes are sung in the time of 2 (usually Semibreves or Minims)
Shorthand proportion signs:
( = 4:3
3 = 3:2
2 = 2:1
When the sign ' or 3 appears in one or more voices simultaneously with & or 2 in other
voices, the music in ' or 3 is twice as fast as the other voices (2:1 diminution)
By the late 15th century ' or 3 in all voices at once often indicates some type of speeding up
2
IMPERFECTION AND ALTERATION
1. Imperfection: Taking away 1/3 of the length of a ternary note
From the back (a parte post):
2
FF
FG
GF
G H
HGF
From the front (a parte ante):
_ ___
GF
G
FGHHGF
___
HHHH
HG
GF
By smaller values:
2
*
FHH
F
HHF
IIGGHHHF
II
HG G HHHGF
F GGGF
GHHHGGF
HF
H
FHHFF
FHH G GF
F
#
____
#
_ ___
4GHF
FHHF =
Never by a ternary group:
2
___
By remote parts (a partibus remotis):
_
___
___
Like before like (similis ante similem) is
never imperfected:
*
From both sides:
___
_
___
#
___
Rests are never imperfected (but they can
imperfect notes):
_ ___
_ ___
NLFGGGF
__ ___
2. Alteration: Doubling a note value to complete a ternary grouping
2
*
GGGF
HHHGF
=
Between two perfect notes, always occurs:
2 FGG
GF = _ ___
* GIIHHGGF = _ ___
___
___
Always the last possible note:
2 GGGGG
GF = _ ___
Rests are never altered:
2
LLFGF
#_ ___
DOTS
1. Dot of Addition (punctus augmentationis/additionis)
Increases the length of a note by half (like the modern dot)
Can only be applied to binary note values (e.g., a Semibreve under 2)
2
GGHF
___
2. Dots of Division/Perfection/Alteration/etc.
Act as measure dividers for ternary values (e.g., a Semibreve under *)
In order to separate ternary groups, can force imperfection and alteration or prevent them
FGGF
The rare punctus reductionis or syncopationis (dot of syncopation) can appear in the middle
of a ternary group; by preventing alteration or imperfection it causes syncopation
_ __
GHHHGGF
HHGHHF
_ ___
___
COLORATION
1. Imperfection coloration
At ternary mensural levels, colored notes are always imperfect and cannot be doubled
through alteration
Colored notes are often found in groups adding up to pairs of ternary measures
Dots in coloration groups are dots of addition (affecting the imperfect, unaltered values)
FQQQF
Such groups fall at measure beginnings, causing alteration if necessary
_ #_ ___
GGPQF
RQRIF
#_
___
_#_ ___
2. Proportional coloration
For binary note values, coloration takes away 1/3 of the value (creating modern triplets)
The rules for imperfection coloration still apply (all notes imperfect, no alteration)
3
&
GGRRRF
Some special cases (later 15th and 16th centuries):
&2
RI
_ ___
HI
'
&
QR
GH
4
GHHIIIGF
'
_
___
QII
GII
,,3,7&+
Gamut
ee
dd
cc
aa
g
f
e
d
c
a
G
F
E
D
C
A
+
Hexachords
Note names
la
la sol
sol fa
fa mi
la mi re
sol re ut
fa ut
la mi
la sol re
sol fa ut
fa mi
la mi re
sol re ut
fa ut
la mi
sol re
fa ut
mi
re
ut
Principal clefs
ee la
dd la sol
cc sol fa
fa mi
aa la mi re
g sol re ut
f fa ut
e la mi
d la sol re
c sol fa ut
fa mi
a la mi re
G sol re ut
F fa ut
E la mi
D sol re
C fa ut
mi
A re
+ ut +
In any hexachord, the step mi fa is a semitone; every other step is a whole tone
The sign (round b) marks a note as fa, which means it is only a semitone above the step
below it; usually this means the marked note must be flattened by a semitone
:
The sign (square b) marks a note as mi, which means it is a semitone below the step
above it; this usually causes the marked note to be sharpened by a semitone, cancelling the
effect of if necessary
:
The sign (dyesis) simply causes a note to be sharpened by a semitone, without
necessarily changing the hexachord syllable; it is often used loosely, however, with the same
meaning as
:
DIRECTED PROGRESSIONS
In counterpoint, when an imperfect consonance (3rd, 6th) moves to a perfect consonance
(unison, 5th, octave), the imperfect consonance should be performed as major or minor in
order to approach the perfect consonance with the smallest movement (e.g., a 6th expanding
to an octave should be major, a 3rd contracting to a unison should be minor)
Sharps and flats can be performed to ensure this type of closest approach
6-8
3-1
3-5
6-8
3-5
or
MELODIC LEADING TONES
The returning note melodic phrases re ut re, sol fa sol, and la sol la should be performed
with a sharp leading tone (raising the lower neighbor note by a semitone)
Such melodic phrases often appear in ornamented forms, which require the same sharpening
PERFECT INTERVALS IN COUNTERPOINT
In counterpoint, false consonances (augmented and diminished perfect consonances)
between two voices are to be avoided: augmented and diminished 5ths, octaves, unisons
If the default reading produces a false consonance, one voice should lower its pitch by a
semitone and call that note fa, which will produce a perfect consonance
PERFECT MELODIC INTERVALS
1. Melodic phrases
If a melodic phrase outlines a tritone (an augmented 4th, e.g., F fa - mi), the higher note
should be lowered by a semitone and called fa, to make a perfect 4th
If the phrase continues by step in the same direction to complete a melodic 5th, no flattening
is necessary
:
2. Leaps
Leaps of a 4th, 5th, and octave should be rendered as perfect intervals, using flattening (with
the syllable fa) if necessary
